Eventually, my second “mode on” found quotes, wonders, seeds to plant (here or there) and to meditate on :

We live a physical house, but also in some spiritual homes, other “places” we belong to.

Playing very few notes is more difficult than pure virtuosity.

When you find difficult to play or understand something, you maybe need to find parallel structures in other artists or situations : comparison enrichment.

You can explore a field (movies, music) with artists, eras, but also labels or studios, producers, etc. Let’s write something about ECM.

Should an artist listen or study what he did in his past? (Kremer never listens what he recorded in previous years).

When an artist collaborates, there’s a need of “mutual listening”.

Sometimes we miss something. Friends around us indicate things or persons but we don’t listen – when we maybe should.

Then and therefore : what is to catch up? How do we? What is “to redeem”, how?

“Seeking perfection is the enemy of beauty”

Etc etc. I found a few more. Whatever. Each line is a door to a new room, which is full of questions. How to drive “mutual listening”? What becomes virtuosity with very little notes to play? Where the frontier to find between catching up and letting go? Etc…

I found this too : when you have one or many “modes of exploration”, it becomes difficult sometimes to be in direct contact. You ALWAYS have a filter on, and that can be exhausting!

We have to find back a way to quit our introvert-analyzer inner computer to… touch things. I suppose it’s what great artists can do, having the great ability to move it like a lever, a slider, from 0 to 100%, from “I know this without any words” to “Analyze and peel it off to understand it”. Where is yours?

Thanks for reading!

To write this article, I needed music. I chose Weinberg by Kremer – of course. The YouTube link is under the sleeve, downstairs :